• 한국콘텐츠학회논문지
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• 제17권5호
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• pp.122-136
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• 2017

본 논문은 영화의 경제적, 사회적, 문화적인 영향력을 고찰하고, 영화(문화)에 대한 기독교의 입장을 종합하여 현대 기독교에서의 적용 방안을 제안한다. 영화는 사회 전반부 모든 영역에 영향을 미치고 있으며, 현대인들은 과거 문자 시대에 문자 문화에 익숙해지기 위해 갖은 노력을 다했던 것처럼 영상 시대에 적응하기 위하여 다양한 노력을 기울이고 있다. 그러나 영화를 대하는 기독교적 입장은 다소 소극적으로 보일뿐만 아니라 기독교적 대안에 대한 연구 논문도 비교적 적다. 그래서 본 논문에서는 Niebuhr의 문화에 대한 모형론과 그에 대한 신국원의 문화적 풀이, 그리고 이를 발전시켜 영화에 적용시킨 Johnston의 영화에 관한 태도와 Keller의 문화 참여 모델을 종합하여 분석하고 영화에 대한 "비평적 시야의 확장", "사고의 정립", "사고의 확장"의 단계별 방안을 제안하였다. 그리고 오늘날 대중사회에서 자연스럽게 경험하게 되는 다양한 문화에 대하여 기독교가 보다 적극적으로 대화의 가능성을 찾아 발전적 대안을 제시하는 연구들이 더욱 많이 나오기를 제언하였다.

• 복식문화연구
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• 제28권1호
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• pp.96-113
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• 2020

A new form of media is changing the expression and content of fashion. In this paper, fashion films that have appeared since 2010 - when digital fashion communication was increasing - will be discussed and explored to consider how technological transitions in fashion media are changing the appearance and role of fashion. A literature review was conducted to derive characteristics, types, and expressive elements of new media fashion films, which were defined for this study as fashion films produced and distributed since 2010 using digital media. Films were categorized into three types: promotional, editorial, and independent fashion films. Furthermore, elements of the films were identified as fashion mise-en-scene, auditory structure, and content structure. Types and expressions of digital fashion images in 40 fashion films were analyzed according to these elements. The results showed that promotional fashion films maximize various narrative and sensory effects on fashion products, whilst editorial fashion films strengthen the role of entertainment. Independent fashion films expand the area of fashion and promote the diversification of fashion systems. Moreover, the results show that fashion films are not a secondary form of media that just expresses fashion; they provide a tool for the creation of new fashion content. New media fashion films promote the expansion of expressive spectra and boundaries, offering various multisensory experiences of fashion, and enhancing creativity and the aesthetic values of fashion.

• Preventive Nutrition and Food Science
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• 제3권1호
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• pp.27-35
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• 1998

Starch-polyethylene films containing high molecular weight(NW) oxidized-polyethylene and prooxidant were prepared , and thermal -and bio-degradability of the films were determined. Increased levels of starch resulted in a corresponding reduction in mechanical strength of the films. However, the addition of high MW oxidized-polyethylene did not significantly reduce the percent elongation of the films. Thefilms containing high MW oxidized-polyethylene andproosicant were degreaded faster than those containing no aadditive during the heat treatment. The films lost their measureable mechanical properties when their weight-average MW(Mw) fell below 50,000. Biodegradability of the films was determined by a pure culture assay with either Streptomyces badius 252.S. setonii 75Vi2 or S. viridosporous T7A, and by an extracellulr enzyme assay using S. setonii 75vi2. The results from pure culture assay indicated that biomass accumulation on the film surface inhibited chemical and biological degradation of the films. The extracellular enzyme assay demonstrated decrease of percent elongation and increase of carbonyl index of the films. Therefore, extracellular enzyme assay could be used as a good method to evaluate biodegradability of the films.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.64-72
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• 2023

This paper discusses the technical exploration of Ang Lee's cinematic works and the unique visual beauty he presents. Ang Lee has successfully tackled various themes and genres, creating films that harmoniously blend Eastern and Western cultural sensibilities. These films are technologically innovative and show the interaction between technology and art, industry and culture. Therefore, this paper analyses the correlation between film technology and visual beauty in Ang Lee's works, and explores the discourse on how the relationship between film technology and art has changed with the development of film. Furthermore, this paper aims to provide insights into how technological innovation can enhance artistic creativity. The contribution of this study lies in the in-depth exploration of the relationship between film technology and art, with a focus on technological innovation and the visual beauty in Ang Lee's works. The research findings reveal that Ang Lee's films showcase the application of advanced technologies, captivating audiences with their unique visual aesthetics. The utilization of emerging technologies enables his films to possess not only visual impact but also convey profound emotions and themes. We conclude that technological innovation in film not only provides artists with more creative tools and expressive techniques but also, when combined with artistic sensibilities, creates captivating and visually expressive cinematic works. This discovery offers a new perspective for film production and opens up greater possibilities for collaboration between artists and technology experts.

• 복식문화연구
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• 제26권6호
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• pp.888-898
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• 2018

The purpose of this study was to review and establish the two concepts of art film and artistic expression in Prada fashion films, through a literature review of domestic and international case studies, as a form of luxury branded content, Prada fashion films are considered to artistic film genre. For the study, aesthetic expression in art films as discussed in the previous research was divided into four types. The study method was to review fashion / art films from the founding of YouTube, specially, works that used digital images from Thunder Perfect Mind, which was introduced in Prada in 2005, to Nylon Farm in 2018, stylistic features were searched by film. In addition, for this study, fashion film was analyzed based on the typology of art films. The following conclusions regarding artistic expression were drawn from this study : First, the Prada fashion films represent a transition to advanced art through a conceptual approach. Second, the causal relationships personality psychology can be cited through the disturbed and fragmented narrative lines. Third, the films help people identity Prada's aesthetics by humanizing the luxury brand. Fourth, the films are a feature of serialization.

• 비교문화연구
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• 제20권
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• 한국식생활문화학회지
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• 제33권6호
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• pp.489-500
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• 2018

Since the late 19 century, the Choseon dynasty forcibly opened the door to western countries, including Japan. In addition, cultural propagation called 'modernity' caused subtle changes in dietary life. Based on the theory of colonial dual society, this study examined the dietary modernity in Kyungsung (mid 1930s~early 1940s) when 50 years had passed since the Open-Door policy. Three films, (1934), (1936) and (1941) (those made in 1930s~1940s) were analyzed. Twenty six scenes [14 scenes from , five scenes from , and seven scenes from ] related to the dietary life from films were chosen and classified according three criteria (degree of modernization, main influential countries, and benefit groups from modernization). The degree of modernization of all films was more than 80%. The average proportion of the countries that affected modernization were western (35%), western-Japan (28%) and Japan (20%). Approximately 33, 53 and 14% of the upper, middle, lower classes, respectively, benefited from diet modernization. The main places where modernized dietary culture could be enjoyed were cafes, western restaurants, tea rooms, and hotels. The main food or beverages that were considered as modernized dietary culture were liquor (especially beer), coffee, and western meals. People in Kyungsung in the mid 1930s~early 1940s experienced modernity in dietary life differently according to the social classes and these culture changes were generally accepted as a symbol of modernity.

• International Journal of Advanced Culture Technology
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• 제8권4호
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• pp.58-63
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• 2020

In literature it is not only the meaning of words which matters, but also their texture matters i.e. their rhythm, colour and style are relevant and none of these natures can be reduced to an item of information. The texture is also important in film languages, especially the rhythm. In order to make the storytelling rhythm visible, a new concept of 'the Rhythm Chart Analysis Method (RCAM)' has been devised in this research and used for analysis. By analyzing original films and remakes in Korean and Chinese, one can find out that different countries have different storytelling rhythms i.e. the same story can be told in different rhythms. The central idea in Korean films is portrayed at the end, which is a typical characteristic of Korean films. And as the defining moment does not occur suddenly the audience can naturally get immersed into the story. But Chinese films communicate with the audience in a more direct way. It directly mentions characteristics of each actor in such a way that it is telling rather than showing. The information of the movie is given to the audience in the initial stages of the movie. Rhythm is as important as story and information. And through this we can find out the cultural differences from the different storytelling rhythms.

• Preventive Nutrition and Food Science
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• 제6권2호
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• pp.112-116
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• 2001

Oxidized potato starch/polyethylene (PE) cast films were prepared with different percentages of linear low density PE (LLDPE), oxidized potato starch and prooxidant. For the determination of biodegradability of the films, lignocellulose-degrading Streptomyces viridosporus T7A (ATCC 39115) was used. Films were chemically disinfected and incubated with S. viridosporus by shaking at 100 rpm at 37$^{\circ}C$ for eight weeks. Hydroxyl indices of the films by Fourier-Transform Infrared Spectroscopy, mechanical Properties of the films by Instron and film morphology by scanning electron microscope (SEM) were measured. The hydroxyl index of the film containing the oxidized potato starch incubated with S. viridosporus T7A was higher than that of the corresponding control. All the films containing 5% and 10% oxidized starch showed a decrease of tensile strength on the films after incubation when the corresponding uninoculated film was compared. In the oxidized starch/PE film incubated with S. viridosporus T7A, partial destruction of starch and PE was examined by SEM.

• 문화기술의 융합
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• 제5권4호
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• pp.339-347
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• 2019

이 논문은 최근 아시아, 특히 중국에서 한국영화를 빈번히 리메이크하는 현상에 주목해 한국 원작영화와 중국 리메이크영화의 텍스트 분석과 비교를 통해 각각의 영화 속에서 두 나라의 문화차원들을 추출하여 비교 분석한 연구이다. 특히 이 논문에서는 한국의 스릴러 영화인 <블라인드>와 중국에서 리메이크한 작품 <나는 증인이다>의 서사구를 분석하고, 그 동안 비교문화연구에서 활용되어 온 네덜란드의 조직심리학자 홉스테드(Greet Hofstede)의 문화차원 연구를 바탕으로, 두 영화 안에 함축된 문화차원을 비교했다.